NEWS
Here It Comes: A Last Word Before Tsunami Tuesday | Feature
They've Got Issues: But For Some Reason The Presidential Candidates Aren't That Eager To Talk About What They've Actually Gotten Done | Feature by Edward Ericson Jr.
She's the Man: In This Year's Democratic Race, It's the Generation Gap, Stupid | Feature by Vincent Williams
Family Values: Taking the Temperature of the GOP Around the Dinner Table | Feature by Anna Ditkoff
No Place to Call Home: The Nose observed with interest recent events concerning the homeless in Baltimore, and also did a little basic math we'd like to share.
Now, before we go any further, remember: We're not a squinty, green-eyeshaded ogre like those employed in legions by The Man, and we're not some half-drunk bloviator at Ropewalk, genuflecting to the Reagan statue while pontificating about "running government like a business." We know things are complicated, and simple answers to complex social problems are often just naive.
But still. | The Nose
Balling The 'Jack: Ex-Con Aims to Reopen Hammerjacks as Heaven | Mobtown Beat by Van Smith
Copy Cat Closeout?: Last month, the Nose started hearing reports of an imminent sale of the Copy Cat building-the longtime home to starving artists on Guilford Avenue. | The Nose
Murder Ink | The Mail
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COMICS
Dirt Farm: by Ben Claassen III
Lulu Eightball: by Emily Flake
Super Amazing Adventures: by Chris Minetree
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ARTS
The Real World: Authenticity Isn't The Issue in Christine Bailey's Grossly Misunderstood Epic Failure | Art by Bret McCabe
Music For Use: Human Bell Tolls For Thee | Music by Michael Byrne
Seductive Voice: Who Is Drawing You Into This Story Within a Story Within a Story? | Stage by John Barry
Tank Girl: The Gifting by Alan Martin And Ashley Wood
| Review by
Raven Baker
Psychogeography: Disentangling the Modern Conundrum of Psyche and Place by Will Self With Ralph Steadman
| Review by
Darcelle Bleau
Making Records: The Scenes Behind the Music by Phil Ramone
| Review by
Ed Schrader
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FILM
Farsi From Heaven: A 3-D Girlhood Comes to Life in 2-D | Film by Bret McCabe
Wattstax
| Review by
Heather Joslyn
Rambo
| Review by
Cole Haddon
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